Marcel Mule (June 24, 1901; December 18, 2001) was a French classical saxophonist.

Marcel Mule was known worldwide as one of the great classical saxophonists, and many pieces were written for him, premiered by him, and arranged by him. Many of these pieces have become staples in the classical saxophone repertoire. He is considered to be the founder of the French Saxophone School and the most representative saxophone soloist of his time, being a fundamental figure in the development of the instrument. Yet, his beginnings were very humble.

Marcel Mule was born in a village in Aube, France, to a father who learned the saxophone while doing his military service and became director of the brass band of Beaumont-le-Roger. In a time when Paris lacked saxophone teachers, having contact with brass bands was the only way to learn to play the saxophone. His father introduced him to the saxophone at the age of eight, in addition to violin and piano. He also taught him to play with a "straight" tone (no vibrato), which was the custom of the day.

Harvey Pittel (born June 22, 1943) is an American saxophonist who performs principally in North America, and is currently the Professor of Saxophone at the University of Texas at Austin Sarah and Ernest Butler School of Music in the College of Fine Arts. Pittel and Joe Allard, and obtained his Music Education Major at the University of Southern California (USC), followed by Master degree studies with Fred Hemke at Northwestern University. He performed a solo recital at Carnegie Hall in 1973 as a winner of the Concert Artists Guild competition. He has edited the Saxophone and Piano reduction of the Ingolf Dahl Concerto for Saxophone and Band based on his work with Dahl during his studies at the University of Southern California. His version of the Concerto is the standard version of this piece played today, and has performed the piece under Dahl, as well as Michael Tilson Thomas and Zubin Mehta. Mr. Pittel has performed with many major orchestras including the Los Angeles Philharmonic, Louisville Orchestra, Boston Symphony, New York Philharmonic, San Antonio Symphony, and Austin Symphony.

Henri Constant Gabriel Pierné (16 August 1863 – 17 July 1937) was a French composer, conductor, and organist.

Gabriel Pierné was born in Metz in 1863. His family moved to Paris to escape the Franco-Prussian War. He studied at the Paris Conservatoire, gaining first prizes for solfège, piano, organ, counterpoint and fugue. He won the French Prix de Rome in 1882, with his cantata Edith. His teachers included Antoine François Marmontel, Albert Lavignac, Émile Durand, César Franck (for the organ) and Jules Massenet (for composition).

He succeeded César Franck as organist at Saint Clotilde Basilica in Paris from 1890 to 1898. He himself was succeeded by another distinguished Franck pupil, Charles Tournemire. Associated for many years with Édouard Colonne's concert series, the Concerts Colonne, from 1903, Pierné became chief conductor of this series in 1910.

His most notable early performance was the world premiere of Igor Stravinsky's ballet The Firebird, at the Ballets Russes, Paris, on 25 June 1910. He remained in the post until 1933 (when Paul Paray took over his duties).

Eugène Joseph Bozza (4 April 1905 in Nice – 28 September 1991 in Valenciennes) was a French composer.

Bozza studied composition, conducting, and violin at the Paris Conservatoire. He is known primarily for his chamber music. Bozza's work includes five symphonies, operas, ballets, and many pieces for brass ensemble. His larger works are rarely performed outside his native France.

Career coach, the director of the Ecole Nationale de Musique, in Valenciennes, from 1951 until his retirement in 1975.

Bozza is particularly noted for his wind writing, having composed pieces for nearly all of the winds and strings during his academic career (including the saxophone, for which his 1936 "Aria" is an important early composition). His chamber music for winds shows great familiarity with the capabilities of the instruments, often demanding a great deal of technical skill, without losing the expressive, melodic style typical of 20th century French chamber music; his music is part of the standard repertoire for several instruments. Examples include his Scherzo for woodwind quintet, a short and lighthearted piece that requires a fair bit of technical skill.